Immediately it is worth mentioning that without at least an approximate understanding of the lyrics of the songs, the lion’s share of the charm of the film will be lost, since the structure of the narrative is directly sharpened to reduce the musical creativity of the group and the life of the protagonist of the tape.
Returning to the essence – the contribution of the Joy division to the development of world music is difficult to overestimate and all the more surprising that in fact this contribution lasted only 3 years, is limited to 2 albums and they have never been in the top of the mainstream.
The biopic very carefully reproduces this dramatic and unfortunately final period of the life of the band’s frontman Ian Curtis.
I am not an expert on the biography of the band and I can not say how thoroughly the events are reproduced, but from an artistic point of view everything is perfect.
During the viewing, the viewer immerses himself in the TU atmosphere and comes to understand where the musical works came from, which, in fact, became a link between the heavy music of the 70s and the much more calm and philosophical music of the 80s.
Thank you to the creators that they managed to keep the narrative within the framework of gray morality, without hanging any labels or introducing an actual agenda.
The result was a niche, but a masterpiece timeless. It could have been shot for the 10th anniversary sooner or later, and if it had appeared now (hello descendants from the future!) it would have been just as interesting and relevant.
9 out of 10
Biopics about musicians on the screen are almost always stories about the thorny ascent to the musical Olympus: ordinary guys follow their dreams and in the end convey their creativity to the masses, than inscribe their name in the history of music and the final biographical credit for the genre. "Control" reproduces this ubiquitous design - but at the same time stands alone among musical biopics.
This indie project can hardly be called a film about the frontman Joy Division - rather, it is a film about Ian Curtis. Director Anton Corbijn, who personally knew Curtis, shifts the accents in the narrative - and now in the center is not the role of the latter in the formation of a cult British group, but the personality of Curtis splitting to pieces.
A bleak British suburb, in a sordid black-and-white shot from somewhere in the 60s is a young man listening to Bowie and Lou Reed, who will one day almost accidentally become the lead singer of the band later known as Joy Division. But this story in the film is somewhere in the background. The focus here is the story of a man who is unable to escape from a disgraced life, which strangles him like a noose - just as the atmosphere of the film is tightened around the audience's neck.
If Curtis gives himself up, he gives himself up. First it was love, then it was music. But he doesn’t feel right anywhere, and he won’t find comfort even in his work. In the end, only he remains alone with himself in a close world of obligations to others. The disease progresses, everyone turns out to need something, and it turns out to be completely sincere only on stage and at a hypnosis session. Sam Riley’s beautiful central performance captures Curtis’ ongoing inner struggle with himself that can only end in tragedy.
Corbijn deconstructs and reassembles the biopic genre of music and makes a film not about the music that defined a generation, or even about the object of fan love - but about a distraught man for whom music became a destructive force that devastated him and accelerated his death. But at the same time - the only way to fix their total alienation from the colorless world of people around.
Joy Division is one of the iconic British bands, with a special unique sound that is not outdated until now, and its frontman Ian Curtis is one of the mysterious personalities. Although the band had very little existence and did not achieve global and commercial success, this does not diminish their contribution to the development of rock music. If it weren’t for Joy Division, New Order wouldn’t be here. I love both of them, but Joy Division is so close to me. For it is Curtis' soulful and depressing voice, grim funerary texts, and excellent arrangements.
So, the film itself turned out to be one big black and white photo. The film is dark and depressing, as is the music of Joy Division. In 2 hours, we are told everything you need to know about the band and its vocalist. The very name of the tape “Control” was not obtained by chance. First, it’s a direct reference to one of Curtis’ songs, “She’s Lost Control,” and second, the whole movie is about Ian’s struggle with his illness. The singer suffered from epilepsy, which prevented him from living and performing, and apparently there was no escape from it. But despite this, he turned the disease into a kind of “trick”, in his speeches he used movements in the style of “epileptic seizures” and allegedly went into a trance. And thirdly, a personal conflict with himself, because on the one hand Curtis was attached to his wife and did not want to leave her, on the other, he was burdened by an irresistible love for another woman. All these facets are very well shown in the film, but I want to express a separate “thank you” to the director for the fantastic cast. In particular, the main actor. I don't know where Anton Corbijn dug up Sam Riley, but I think he's the best fit for the role. There is no 100% resemblance between him and the real Curtis, but it seems Sam tried very hard to be like him. The voice, manners, inner world of the artist was conveyed very realistically.
Bottom line: If you’re not a Joy Division fan, I don’t think you’ll be interested in watching. Personally, I was happy, for a good directorial debut and a great performance of Sam Riley I put 8 out of 10.
'Control' is an extremely personal and intimate, autobiographical film about the lead singer of Joy Division, Ian Curtis, whose tragic fate is known to many. The film tells in detail about Ian’s life, his experiences, thoughts, first love, illness. Showing the viewer a rich emotional picture, Anton Corbijn (director of the film) shows us that any person at the most inopportune moment can lose control over himself, despite his successes and position in life, that a person can simply break between two components and forever lose himself, not finding a solution in such a difficult moment.
The visual component of the film is very impressive, the movie is filled with extremely interesting shots, which mostly resemble magnificent photographs. After all, it is not surprising, the film ' Control' the debut picture of the director, who is a photographer and artist.
Sam Riley amazingly played the role of his character, an amazing appearance similarity
Makes you believe that this is Ian himself, and it is difficult to imagine another actor in his place.
As a result, the film is devoid of serious drawbacks and we get a wonderful autobiographical drama filled with thoughts, which is complemented by the amazing music of the Joy Division.
RIP
People didn’t realize that I was giving my best, they expected something more from me. . . -
Ian Curtis is an ordinary guy caught in the net of love. In his youth, he met a girl whom he considered his lifelong companion. Without thinking, he proposed to her, then started a family with her. But, bright and beautiful love began to subside and wither.
A wedding ring is on your finger, a child is on your wife’s arms, and you have only stepped over the twentieth of your years, not knowing all the subtleties of life.
Career growth along with depression. The worse you feel, the more you pour your soul into your songs.
When you meet your new love, you say:'Wait, heart, but this woman was supposed to be mine for life, why did you get carried away by another?'
Later, you feel like you need a clone, another you who will live your life with your first love, and meanwhile you will be with your second one so you don’t lose one of them.
Depression plunged Ian into complete darkness, attacks were repeated more often, and the crowd kept shouting:'Sing! Sing! Sing! '.
He could not get out of the pool in which he drowned.
In his twenty-third year, he left the world with only one voice: that of the beautiful Joy Division.
I've seen this movie twice. The first time was about a year ago and the second most recently. After each time I tried to write a review. All attempts failed. I just couldn't finish, grasp, draw my real impression, express it properly. Finally, a couple of days ago, I had an epiphany and was able to cling to what had embarrassed me in this movie all the way. In the wake of the epiphany, I am writing this text now.
So, "Control." If you go to the top, what might you not like? Especially nothing. Actors? At least two of them are playing great. Given that the action mainly revolves around two, and the secondary characters are revealed very mediocrely, you will not feel much inconvenience. Slow action? In this sense, the film is typically British. Sometimes the action really seems very slow. We can also note the lack of a sense of the era, this milestone of the 70s and 80s. But it wasn’t a problem for me both times because the movie was perfect. It's to immerse the viewer in yourself. I agree with you that the film is beautiful. Cold, detached beauty. And this is the main merit of the director of the dash of a great photographer. Oh, my God, the scenes are lined up. God, what a game of light and shadow. A game of facial expressions, gestures, looks. Some scenes without a single word speak to the audience, they are so expressive. But I also have to point out how atmospheric the film is. I couldn't get away, he pulled me in. I did not think that I would be so receptive to this tape, which gradually brought me into a state of suspended animation and it was in it that I came to the end - terrible in its inevitability. A terrible thing has happened, but nobody can do anything.
However, something prevented me from saying, "Yes, that's amazing for a hundred out of ten." This prevents me from writing a positive review. And only recently I realized that. The fact is that what the film wants to tell and what really tells is different things. I can't believe I didn't get to this sooner. But it is. You see, the film really tried to tell about Ian, only about Ian, and it's noticeable. The very mood of the tape, in my opinion, is that, because an attempt was made to show us the world around us through the eyes of Curtis. Sam Riley tried very hard to show us the real Curtis. Given their similarity, it was quite convincing. The film was based on Debbie’s book. In fact, we all see it through his eyes, not his. And it was she who clearly had little idea what was going on in Ian's head. No offense to Debbie, she gives the impression of a completely ordinary woman who is not very worried about all these high matter, but is worried about completely ordinary things. That’s why the whole action boils down to a love triangle and a conflict between creativity and a family that needs a head and a breadwinner. For the same reason, there is a lot of Debbie in the film. Much more than groups and everything else. That is why there is dissonance, because the subcortex you feel that an attempt is made to show the inner world of Ian, but really it turned out to show it only from the outside. Unfortunately, Ian’s entire reflection remained within himself and settled in his work. Everything that was in him remained in him. Filming about people like that is hard. The lack of bright behavior should be correctly compensated by an action that reveals the personality. Unfortunately, that was not the case.
Overall, I’m pretty positive about the film. The film is good for a certain mood, and when it comes again, I will review it.
7 out of 10
I think if you are really interested in the life of Ian Curtis, this two-hour black-and-white musical trip is unlikely to reveal the full impression of the musician’s personality, much less reflect the facts of his biography. I will not deny that the time spent watching was spent with pleasure, because there is an atmospheric monochrome video sequence, and familiar songs, and a pleasant acting... however, as for me, this artistic - albeit excellent! - film under the tag "biography" does not pull. Where is the history of becoming a singer, acquaintance with the band members, the impact of creativity on relationships with others and the development of post-punk in general, not to mention his youth and character? All that happened to see is a crumpled plot filled with scraps of biography moments.
Initially, before getting acquainted with the tape, it seemed that the viewer would recognize if not all the background, but certainly be able to understand what was happening in the thoughts and feelings of the melancholic musician. However, presented on the screen is more like a free essay about the doubts and throwing of the protagonist between his wife and a pretty journalist, sudden bouts of epilepsy, short shots of speeches and the last day before his death. It seemed that even Curtis’ widow could not reveal the inner world of her late husband, although she was with him until that unfortunate day – too many open questions remain at the end of the film, since nothing, in general, significant was said.
It’s a pity, I wanted to see more than depressive reflection in the breaks on the love triangle, music and the caustic cigarette smoke that filled the frame. Overall, a huge plus to Sam Riley and Samantha Morton for the impressive performance, as well as the overall mood of this work.
Don't lose control.
The world, drowned in black and white colors, a muffled eternal inner monologue - with each frame this film tries to go into the category of something eternal, but impotently stumbles - for him this is almost an impossible task, fullness does not keep pace with ambition, and beautifully geometrically outlined frames float one after another, hoping to freeze in the form of photos at a photo exhibition, where they belong.
And so the poor event series, not coupled with the author's current, is closed entirely on the affairs of the lovers who fell under the lens of the leader of Joy Division. In front of him - the lens - there is an exposure of not the most impressive character: the world of Curtis according to Corbijn is flooded with monochrome dullness not because this is the life imperative of such, but so - of the youth of error, love did not play properly, and here epilepsy progresses as not convenient.
In confirmation, the music, which should pour for a full worldview illustration, unpretentiously rhymes with the life of the hero, although it should work on the principle of a needle on the nerves. This nerve was extracted from the beginning. An author of a higher rank would definitely make contact with the history he knows, let everything pass through him. "Control" looks toothless.
For all its application, the whole case is not translated into a new form, which is a usual household sketch. Curtis' music, for all its lyrical simplicity, had a breath, a pulse. There was a volumetric texture through it. It is a pity that the film, even visually showing the performances of the band, does not inherit their gene, its power. And Corbijn should have taken his favorite camera out of sight and become a complete unit of the world.
The film “Control” tells about the bright and tragic fate of the famous rock musician, frontman of the Joy Division group – Ian (Jan) Curtis, about the black and white life-giving successes in his musical career, love for his wife and child, passion for a young French journalist, emotional anguish, and suffocating epilepsy attacks that pushed the talented musician to suicide in 1980.
Control is the first feature-length feature film by Dutch-British photographer, clipmaker and artist Anton Corbijn, who, out of his love for the Joy Division band, specifically moved to live and create from the Netherlands to London in 1979.
The film is based on the memoirs of Deborah Curtis, wife of Ian Curtis, whom he married at the age of 19. In “Control” the role of Deborah played Samantha Morton, and the role of Ian Curtis Corbijn originally planned to take Killian Murphy. All songs in the film are performed by Sam Riley (with New Order remaining members of the Joy Division).
The film's title refers to Joy Division's song "She's Lost Control," which many critics believe most broadly reflects the attitude of the late Ian Curtis.
I think this picture is really worth the artwork, primarily because of the excellent quality of the shooting and the script. Corbijn was able to capture the post-punk atmosphere of the 80s. Black and white shots, cigarette smoke, chaotic movements on the stage of the soloist Joy Division, realistic seizures of epilepsy, live acting and the gloomy atmosphere of London seem to transport you to those times and make you watch the film in one breath. Although Ian (Ian) Curtis lost control of himself in real life, his musical contributions have had a major impact on post-punk development around the world.
“Control” is the debut film of Anton Corbijn, who first settled in the director’s chair for a long time and decided to repeat the success achieved by him as a clipmaker. The tape is dedicated to Joy Division vocalist Ian Curtis, because for Corbijn the meeting with the Manchester Four in 1979 was fateful and was the impetus for his creative evolution, primarily as a photographer. He manages to take pictures of the group a year before its disappearance in connection with the death of Ian, and only after almost three decades returns to the unforgettable legacy of this quartet to the mystical musical rhythm to present the viewer with a portrait of one of the most mysterious and tragic personalities.
The director opts for a difficult genre of biopic, whose complexity lies in countering conventionality and documentary, and where it is important to maintain a balance between the desire to accurately recreate the facts of the biography to understand the personality of the hero and clothe the depicted in an elegant veil of artistic expressiveness, draping all the protruding corners of an irregular illogical reality. But at the same time, this genre is designed to emphasize the inconsistency of the figure of Curtis himself - a person very contrasting.
The documentary was based on the memoirs of Deborah Curtis, Ian’s widow. She tried to achieve a versatile disclosure of his personality - information was collected from people close to him and acquaintances, and presented in detail and without evaluation, although there is a large amount of reflection that compensates for the lack of value. But Deborah’s book is also the fruit of a complex of guilt for the death of her husband and resentment from the severity of the victim’s position, who was on the outskirts of her husband’s life, the desire to speak out, and in this regard the film is devoid of such an aggravating motive.
“Control” draws on the key points of Deborah’s biography, highlights the dark side of Joy Division: the history of the band, opening the door to the backstage. But first of all, this is the story of Curtis himself, about his whole life from his childhood in the sullen walls of Manchester to his death at the age of 23. He appears before the audience not only as a musician who creates ghost songs with hypnotic images, but also as a husband, as a father; his path from the first creative failures to the status of an idol of the crowd, from the recklessness of a young man with a sense of immortality to an unhappy, suffering from epilepsy, hunted down by his own complexes and conflicts of suicide.
If we compare the prosaic basis of the source and the cinematic projection, the literary portrait is written with tougher and brighter brushstrokes, where Curtis appears to be a person who feels strongly and deeply, but is capable of both selfless actions and betrayal and cruelty, in the film version this cutting contrast is softened, blunted to the reasonable logic of motives. On the one hand, it seems quite permissible author’s freedom and the desire to exclude moments that are not directly related to the development of events, and on the other hand, these are important details that, when combined, represent the person in a slightly different light – so, with a couple of extra strokes, the image can lose its features and show completely unfamiliar. Therefore, here artistic convention has the property of unintentional distortion.
This deformation is also manifested in the form of protrusions on the plot canvas: along with minor facts, some important details are omitted. Curtis’ suicidalness is poorly expressed as one of the integral features of his personality, in the film it is only a consequence of the unnatural gradation of the inner conflict of the hero. This is due to the fact that the screen was not presented some of the episodes described in the literary work — in particular, the complication of Curtis’ relationship with Annick, his mistress, due to illness, and a significant deterioration in his condition, which eventually exacerbated the sense of guilt. Corbijn also succumbs to the temptation of hyperbolic melodrama, focusing on the love triangle and partially leaving behind the scenes the dissonance in the soul of Ian, born and other reasons. However, the elements of fiction, the director tries to use only as an auxiliary tool for macromontage of the story of his hero, diligently disassembling and gluing his whole life into a two-hour tape. For example, it shifts events - Curtis' discovery of the world of drugs and his rapprochement with Deborah are linked together, and such techniques do not have a destructive effect.
Corbijn’s artfulness is reflected in the perfection of the composition of the visual series: each frame looks like a separate organic photograph, but this does not go to the detriment of the content. “Control” is not just a big photo album, it is a desire to set the existing stylistic vector, to convey the feeling of that era. Therefore, the director recreates the atmosphere of the late 1970s in the frame, using the harshness of the industrial landscapes of England, the monochrome retro and the musical tone of this time.
Although it is difficult to speak about the accuracy of the image of such an extremely closed personality as Curtis, Anton Corbijn manages to present his view of his dark history. The project is unique due to the volume of events covered by the biography, and for the first time the spotlights cover the life of Ian himself, outside the field of activity of Joy Division. “Control” cannot be limited to the strict boundaries of the epitaph, because it is a heartfelt film chronicle that generates a polyphony of feelings and thoughts, breaks all frames with waves of expression and fascinates with its aesthetics.
Surely those who are interested in music, in particular rock, have heard about such a cult figure of British music, the “godfather of post-punk, gothic rock and indie movement”, Joy Division frontman Ian Curtis, because in this review we will talk about the biopic “Control”, based on the memoirs of the musician’s wife Deborah Curtis “Touching From A Distance”.
“Control” is the debut project of the Dutch photographer, video maker and director Anton Corbijn. In his lens visited such famous groups and personalities: Joy Division, Depeche Mode, U2, David Bowie, Miles Davis, Bjork, Tom Waits, Robert de Niro, Morrissey, Stephen Hawking, Martin Scorsese, Frank Sinatra, Clint Eastwood and many others. And as a clipmaker, he managed to work with such musical groups, including Depeche Mode, U2, Metallica, Nirvana, Red Hot Chili Peppers, Roxette, Coldplay, The Killers, etc.
Well, now for the painting. It tells about the tragic fate of Ian Curtis, shows the personal life and creative path of the musician: early marriage to school friend Deborah Woodruff, acquaintance with future members of the Joy Division at a concert of the London punk band Sex Pistols, the path to popularity and fame, increasing every day epilepsy attacks, a rapidly developing romance with Belgian Annick Honore, which leads to the destruction of marriage. And in an instant, unable to withstand constant problems and experiences, no longer having control over his own fate, Ian decides to leave life.
Anton Corbijn, in my opinion, did not lose out on making the film in black and white style, because the thoughts, emotions, feelings of Ian and the depressing, dark, ghostly music of Joy Division were like that. With the role of Curtis, the director also did not lose, inviting a little-known British actor and singer Sam Riley, instead of the initially considered candidacy of Cillian Murphy. In my opinion, Sam looked so much like Ian and got so used to the role that during the scenes of the band’s performance, I felt like I was watching a live Joy Division concert. Well, in addition to all this - an excellent musical range, perfect for the mood of the film.
Even if you’re not an ardent fan or fan of Ian Curtis and Joy Division in general, the film will leave a proper impression.
Ian Curtis is a great rhyme-player and unforgettable singer who brought himself and the audience in a noisy hall to a frenzy, sometimes turning into epileptic seizures. Such a gift is rarely able to boast and such a gift is rarely dared to take.
The legend of a post-punk, who took his own life because of the mistakes of his youth, backed by powerful drugs (not drugs, but drugs) and depression. Here he is – a 23-year-old vocalist with an unforgettable voice and “angel-like” appearance, who decided to challenge his mind and test how much it is possible to dissolve into music, become part of it, part of something eternal, beautiful.
Elegant direction Corbijn is supported by the powerful main role of Riley, who somehow managed not only to take the basic habits of the singer on stage, but also to acquire, borrow his voice for a while.
The veil of the mystery of Curtis' uncertainty in the life that led to depression and suicide is opened so that the viewer can thoroughly understand the nature of the legend and the reasons that drove him to a desperate act, and decide whether these reasons were really weighty or whether Curtis was temporarily seized by depression, erasing the edges of reason on the way to the kitchen, where the rope is sinister, as if from a nightmare, in which Curtis once found himself with the help of hypnosis, hangs from the ceiling.
“Control” is a serious movie that will be interesting to a wide range of people and even those who are not familiar with such a phenomenon as Joy Division.
'Control' is a feature film about the late Ian Curtis, the legendary vocalist of Joy Division, about his life, career and tragic death.
Yeah, we've known that story for a long time. But this film is not a banal interpretation of the biography. I think everyone should see it. Extraordinarily atmospheric and realistic, it takes us to the cool and foggy London of the late 70s, and makes us be silent witnesses of those events.
For the first time 'Control' I watched last year. Literally from the first minutes of the film ' delayed', so much so that I am still under the impression - the footage flashes before my eyes, I constantly analyze what I saw and then blame Jena, then admire him. After watching, I was left with mixed feelings. On the one hand, I was deeply disgusted and even insulted by the behavior of Curtis towards his wife Deborah. On the other hand, I understood his uncertainty and life confusion. He felt deeply guilty - in front of the band for disrupted performances, in front of his wife for stolen life, in front of himself. He didn’t know where to find a way out, and the epilepsy that was getting worse every day made the situation worse. Not everyone would survive, wouldn't they? So Ian could not - from unrestrained desperation he committed suicide, thereby saving himself from a series of difficult choices.
Initially, the film was shot in color, but in the process of editing was converted into black and white. With such a simple technique, the director managed to evoke an extraordinary sense of verisimilitude. And the impressive acting only reinforced that sense of reality. So, throughout the film, I could not understand who was in front of me on the screen - the late Ian Curtis himself or the English actor Sam Riley? I completely forgot about the existence of logic, so much Sam was able to convey the image. Actually, what I'm telling you! Watch this movie and see for yourself.
Who was Ian Curtis really? Hard to say. Genius? Supersensitive suicide? Anton Corbijn is trying to answer these questions.
The atmosphere of black and white depressive Manchester is perfectly conveyed. The conditions in which Curtis worked are very well shown.
Of course, there are not enough answers to the questions 'How?' and 'Why?' but with a person like Curtis, this is almost impossible.
I recommend both fans of Joy Division and just connoisseurs of classical rock.
And the personality of Ian Curtis is a great example of how a person can live in his own head, filled with numerous images and illusions, while all giving away crushing in its beauty ideas (in this case music).
10 out of 10
The shooting of a full-length film about the life and work of the frontman of the cult group Joy Division Ian Curtis went Anton Corbijn, by vocation and education photographer. And this is more than noticeable in the picture itself, shot as if each frame is a photograph. Very self-sufficient h / b-frames, concise and minimalistic. However, aesthetics remain an aesthetic. And in our colored age, shooting in black and white graphics has already become an elite thing, if you will - a piece of art in the mass. The visual component of the picture is a real declaration of love for the “black and white” and very atmospheric music of Joy Division. The insanely harmonious combination of the moods of the lyrics of this group, the throwing of the protagonist between his wife, mistress and epilepsy, and colors.
As for the plot , the biopic came out not very dynamic and, to be honest, slightly incomprehensible. Not all events in the film are motivated, but moreover, the plot will focus not on Curtis’ work, but on his relationship with his wife. There are too many of them in the movie. There are a couple of opinions that the picture is too fixated on this relationship, although the love line itself remains undisclosed, not very catchy. And I tend to agree with those opinions. Although I am not a fan of the band (I watched the film to get acquainted with the music of the iconic Joy Division, and the biopics are mine), I would like the only art film about Ian Curtis to be more about himself and his musical path. Although, given that the picture is based on his wife's memoirs, everything becomes clear. And it is clear that sometimes the life of a legendary person fits into the life of another person, less legendary and unremarkable, but loved and dear to the legendary. Love for geniuses is inspiration, self-realization, the source of the strongest emotions. And sometimes for people (especially for people like Curtis) the whole world is in one person. Here the case is incomprehensible (given that Curtis was fond of a journalist, and he was confused in his early fatherhood, his serious illness and the need to give concerts). He was torn, suffering, lonely, even though there were many people around. The film is black and white because the thoughts and emotions of this unique musician were like black and white. And life seemed to him insanely monotonous.
Sam Riley is the Ian Curtis that any Joy Division fan can only dream of. He is the way the role requires: both closed and strange on stage, and attractive and mysterious, superficially similar to the real Curtis. Riley is an excellent British actor (this country does not do others), who has already proved in many indie films (including the Kerouac film adaptation of On the Road) that he is worthy of playing deep and soulful introverts, cult figures for intellectuals and other intelligentsia. Samantha Morton is also an actress who rarely flickers in movies. Rarely aptly (" Libertarian, Golden Age, Mr. Loneliness, Cosmopolis). Her role here, unfortunately, is not remembered. Among the rest of the caste are the works of Joe Anderson ( Jane Austen, Through the Universe) and Crane Parkinson ( "Dumpsters").
In the remainder, "Control" - a stylish biopic, prim and stingy on the emotions of the movie, causing nothing but a rather strong melancholy. It’s not a bad thing, but film is an art other than music, and it can do more.
I just watched and listened to Love will tear us apart.
I'm impressed. One thing is for sure - all lovers of autobiographies and the 70s should definitely pay attention to this film. It immerses, drags, black-and-white picture carries back forty years. Very atmospheric, very much believe - the actors' play is so good, every emotion is so true. And for two hours she lived Ian Curtis' life, his feelings. In the film there are practically no monologues of the main character, and they are not needed, the music conveys everything, he lived by music, the music expressed his self, contradictory, deep and incomprehensible. The absence of these monologues makes you participate, empathize, think with and without him, not only about his life, but also about yours. Ian’s personality is a mystery, it will remain, he seemed to foresee his early departure from life, he was in a hurry to live, was in a hurry to realize himself, but in the end his illness, mental illness defeated him.
“Control” is a film that will not be appreciated by everyone, I become one of those for whom it became one of the favorites, and even more fell in love with the music of Joy Division.
8 out of 10
It is not entirely clear what winds this biographical film about the British post-punk band Joy Division brought to the Australian program SFF. Still, it is typically British, although Australia is listed among the producing countries, which does not violate the rules. Not really. If only the movie was interesting. I don’t listen to this kind of music, so I don’t know the history of the band. But the name of the group, of course, heard. So, I will judge the film from the position of an impartial viewer.
I guess this film is designed exclusively for the audience of those who are in the subject, because I never managed to understand the main character. Given the fact that the film was shot on the memoirs of Ian Curtis’ wife, I conclude that she, too, did not understand the reason for this finale. I only saw a strange young man with a brooding look and epileptic seizures. And what exactly he was thinking, I do not understand. Then he turns an affair on the side and regrets that he married at such a young age, then he is already trying to return his wife, who is ready to divorce herself. My musical career seems to have progressed well. There were concerts, tours, and fans. So what's the problem with the soloist? Sick? Then he returned to the stage.
Roughly speaking, it's two hours about nothing in particular. Well, there are successive black-and-white pictures and sometimes the band's songs sound. But I never understood what the creators were pursuing. If they wanted to answer the main question about the death of the soloist, they failed. Yeah, it was clear the guy was depressed. But it's not a cause, it's an effect. About the rest of the group members and relationships in the team is not even worth talking. There's nothing here except seizures and throwing between two women. Was it worth it to drag out this love triangle for two hours? I doubt it.
Fans probably put high marks biopic in memory of their favorite band, and for the rest of the audience the phenomenon of Joy Division will not open. Boring, dull and not giving answers to questions. Just a fan video. It would be better if the documentary film was filmed with the memories of other members of the team about that period. Especially they're still alive! I didn't like it.
About the movie.
The film “Control” tells the story of several years of the life of Ian Curtis, the mysterious frontman of the cult English post-punk group “Joy Division”. This is the story of the rapid creative rise of the legendary poet and vocalist. A conflicting relationship with family and friends. The story of the musician’s struggle with the disease (epilepsy). All this led the story of the life of Ian Curtis to a tragic end.
Director and script.
The full-length directorial debut of the most famous music photographer and icon maker of such bands as U2, Depeche Mode and the Joy Division itself. The script is based on the memoirs of Curtis' widow, who is also a co-producer of the film.
Actors.
Sam Riley was the perfect fit for the role of Curtis. Its resemblance and plasticity give Curtis’s cinematic image even more realism. Riley just brilliantly embodied in the role of the legendary soloist of “Joy Division”. By the way, Riley performs all the songs in the film himself, which gives him another layer of similarity with Curtis, even Anton Corbijn, the director of this film who met Ian many times during his lifetime, noted that in some moments Riley is practically indistinguishable from Curtis. The rest of the cast also plays at a strong level, but still the film pays more attention to the personality of Ian Curtis and focuses most of the screen time on him. The rest of the actors just didn’t get more attention, and I don’t think that’s a plus, but the authors need to understand the film about Ian’s personality and his inner world, not about his family, friends and the like.
Bottom line.
The film should be watched by everyone who loves and respects Ian Curtis and his legendary band Joy Division and anyone else who wants to know how this legendary band has added something to the development of modern music. Personally, I really enjoyed the film and I know I will watch it again and again.
10 out of 10
A very interesting film about one of the brightest and most mysterious personalities of the post-punk scene - Ian Curtis. I love the work of Joy Division and I just couldn’t help but see the picture. It turned out to be so stylish that the film simply fascinates and plunges the viewer into the atmosphere of good old England of the late 70s, which, by the way, is conveyed perfectly (perhaps partly due to the fact that the picture is black and white).
From Sam Riley in the image of the late Ian Curtis was impossible to take my eyes off, so he seemed organic in this role. In fact, I think it’s an arch-complicated task to play a real person, especially one who lived not so long ago, especially with such a complex inner world. And Sam, in my opinion, did it flawlessly, besides, performing most of the songs on his own.
I also liked Samantha Norton as Curtis' wife Debbie.
The movie is definitely not for everyone. But for fans of a certain genre of music or good biographical films, I would highly recommend watching.
10 out of 10
Dear Annick, I am invading your life, not you invading mine. I used to think things were getting clearer, but now I see things falling apart right before my eyes. I pay dearly for the mistakes of the past. I never imagined that one mistake in my life five or six years ago could make me feel what I feel now. I’m torn between what I think is right and some perverted rightness in the eyes of others. They have no heart and they don’t see the difference.
The film follows the tragic fate of Ian Curtis, singer and songwriter of the post-punk band Joy Division. I didn’t watch it because I was a fan of it. No, before this movie, I didn't listen to their songs and I don't listen to them after. But the movie is amazing. I even consider it a masterpiece.
Directed by Anton Corbijn, a famous photographer (Depeche Mode album covers, Rolling Stones), probably, that’s why the footage is so beautiful. The film is his debut. Now, by the way, he plans to make a film about a Chechen based on the novel by John Le Carre.
It shows Ian's personal and creative life. His arrival in the group and the path to popularity, relationships with his wife and mistress, epilepsy attacks and experiences that tormented him.
The most memorable are his performances on stage, his strange movements, which led Puritans to accuse him of using drugs. In fact, they were related to his epilepsy and resemble seizures. If you watch a movie, reached his performance and it did not hook you, you can safely delete the film - it is not for you.
The main thing in the film is the talented play of Sam Riley. Initially, the role of Ian was planned by Killian Murphy, who looks like Ian, but seemed to the director “a little shorter.” Riley plays believably, movements, facial expressions, looks, dances and, of course, songs. The songs in the film are sung by Sam, who had his own band.
The film is stylish, black and white is appropriate, the soundtrack is great. The aesthetic of Manchester is also good for the film.
And so far, no one has blamed the director for distorting the facts, on the contrary, the band members liked him, even shocked him.
Peter Hook, bassist for Joy Division and New Order: When Ian got involved with Annick, things changed a lot. He wanted to appear before her such a sensual nature, a tormented poet who comprehends the depths of being. And Bernard and I were just kids, hanging around, believing in rock and roll, reading questionable magazines. When Ian hung out with us, that's how he behaved - maybe just out of politeness, I don't know. With Annick, he was such a damn poet. With Debbie, quiet and humble. I still don’t know when he was who he was and when he was what he wanted to be.
Tony Wilson, founder of Factory: I asked Annick if she liked "Closer" and she got angry: "You know, he's serious." I was like, "Come on, it's just a pose." But she was right, and that's why it's a great record. He was really serious about it.
Deborah Curtis, wife: On Unknown Pleasures, Ian’s voice sounded as if he had lived a lifetime at 22. When I heard the lyrics to New Dawn Fades, I decided to talk to him, make sure they were just poems that had nothing to do with his real feelings. It is useless, like talking to a closet - he refused to confirm or deny anything and just went out.
David Bowie, looking from the cover of the record, at the beginning of the picture with a red line expresses the dreaminess of Ian, his vulnerable soul, the contemplation of a Martian in the stone jungle of Manchester and comfort. If the film was 30-40 minutes long, it would be called Comfort.
Further, Ian's motivation undergoes certain changes, associated, as in the first case, with a change in the external environment or if you narrow the situation with the next trend of fashion. Behind the scenes appear Sex Pistols and Buzzox. As fashionable as David Bowie, but less flexible, i.e. local, not global adapters. They are talented in their own way, but not as talented as Bowie. And the global comfort of a lifetime is somewhat dim, turning into having fun here and now. Naturally, in this scheme, there is no need for constant guaranteed sex without problems, for which Ian and married in infancy. There is no need for comfortable work in social services, the meaning of which is the ability to experiment on unhappy people in distress, deciding for them what they need and what they do not need. At the same time, Ian is curious (!) what happened to them in the aftermath and whether his plan succeeded or failed.
Following the zeitgeist, Ian throws himself headlong into an abyss called "Joy Division." The name is taken from the book Doll House, which perfectly characterized Ian's condition. In fact, he does not hide that he is a joyful puppet. The only but decisive error was that Ian believed that the presence of a puppeteer was a prerequisite for the existence of a puppet. In fact, life is often not that way. The puppet can fall into the closet for as long as it wants, and the threads can be cut long ago, but this does not bring her closer to freedom or new life. It was this contradiction that became the basis of Ian’s temporary talent, of which he was well aware. He fusses, rushes, torments, experiences and smoothly passes into the third phase of development, the symbol of which in the film was Iggy Pop with his vinyl "Idiot" (non-educated, profane).
And this is no longer a new stage of comfort - it is the absence of it. Iggy Pop can exist in such a reality, can tame the emptiness because he is a void, full of everything at once, and Ian is not. And if the rolling field under the influence of the wind only changes location, then Ian like a straw tears the social wind, turning into nothing.
Someone take these dreams away
That point me to another day.
A duel of personalities
That stretch all true reality
And keep calling me
They keep calling me
Keep on calling me
They keep calling me
The first words I want to say about the film:
“This is an amazing movie. This is the mesmerizing Curtis. It's hypnotic music. This is a sad black and white story told years later by Deborah and recreated by the legendary Corbijn. A story about the life of a unique person, a story about finding yourself, incredible talent, music, love and death.
And of course, to leave aside the fascinating film - the photo rafia of Anton Corbijn, was absolutely beyond my power.
Already in the first few minutes, I began to be dragged inside the film and it felt like looking through a keyhole. It really was a touch from a distance. Black and white houses, black and white lives, black and white streets of old industrial Manchester. The city on the screen seemed faceless and lifeless and made a dark impression, like dreams of apocalypse. The picture of industrial Manchester, was a living embodiment of melancholy and set in a minor way. Not surprisingly, most of the heroes born in this city were plagued by numerous phobias and depressions.
And then, on the screen, I saw a tall, slim boy with bottomless and insanely sad eyes. With each shot, Corbijn convinced me more and more that I was facing someone unique and unlike anyone else. Not really. Some of whom the boy still strongly resembled. Ian Curtis.
In the distant and changeable 70s, in a small town in the UK lived a sympathetic, Ian Curtis. The boy was unusually dreamy and receptive to everything that happens around him. He read philosophical books, loved rock and roll and wrote poetry. Frequently locked in a room, he would spend hours smoking into the ceiling, composing amazing lyrics and simply reflecting on life under Morrison or David Bowie. Ian liked to imagine himself as a rock star and in the evenings, coloring his eyes, he crooked in front of the mirror depicting his idols. During the lessons he often retreated into himself and the teachers constantly pulled him back to earth from the inner fantasy world in which he was so comfortable. With the world outside, Ian had, to put it mildly, a somewhat strained relationship. In general, he grew up too early and began to ask the eternal philosophical questions too early. Then Ian did not know how everything would turn out and where his life path would turn, although according to eyewitnesses he did not plan a long-term stay on such an uncomfortable planet for him. But the old woman from time to time confused Curtis cards, drawing on his life path white stripes. In general, soon fate carelessly arranged the scenery in his present and Curtis' life changed. The first love that visited Ian, for a while instilled in him awe and euphoria. But the illusions of universal happiness, very soon broke about the life and routine of family life, which, of course, had to do with what was happening on the screen in the last minutes.
A separate point I want to highlight so successfully presented by Corbijn, the birth of the legend of Joy Division. Ian was so talented and charismatic that universal recognition and admiration did not take long. Charming lifeless voice, unique trance - epileptic dances - everything in it was unusually attractive. Ian seemed to have a bright future ahead of him, and that would be the case if Ian were a regular guy. But that's not the case with geniuses. Their inner world is simply not capable of working normally. It's too simple and predictable. Curtis was in love with music, but he overestimated his powers. He did not know that the price of fame would be so high and wasted at every concert, not having time to replenish supplies. The more the band's popularity grew, the darker and more melancholy Ian became. All hopelessly tangled tangle in his personal life, increasingly repeated exhausting attacks of epilepsy, and tightened the knot, his despair and despair. With each new song written, he unknowingly became one step closer to the abyss, securing immortality and the title of one of the brightest stars in the rock sky.
Then follows the chronicle of events, in which even those who do not know anything about the fate of Ian, already initially anticipate the inevitability of the tragic finale.
I do not know how to express my infinitely warm and reverent attitude towards Ian. And I desperately believe he was really special. Unfortunately, there are too few non-trivial, complex, gifted and simultaneously happy personalities. But Ian Curtis was more unhappy than others. I'm sure of that. This was primarily due to his hypersensitivity. He felt more and more acutely than others and therefore needed the understanding and support he never received. He screamed, but he couldn't be heard. It was a scream to the void. It is enough to see these big blue eyes to understand this. In his endlessly disturbing, bright eyes, sparked tragedy and panic. Heavy and painfully sad look, tired of misunderstanding the guy. Ian’s story seemed so sad to me that at times it seemed as if I could feel all the emotions and pain he had experienced.
The film was over, and even the credits were no longer streaming across the screen, and I could still see the bottomless and insanely sad eyes of Ian Curtis. A boy who didn't give himself a chance to grow up.
Biographical film about the soloist of Joy Division Ian Curtis. The film, which a priori is a drama, such a difficult fate was formed by the vocalist of the group, one of the brightest musicians of the UK 70s.
The film begins with Ian’s teenage years, when he found his first love and tied the knot. It's very simple. "You belong to me." And the crown. From the outside, it may seem like youthful maximalism, but not in Jan's case. From him comes a certain fatality, a predetermination of his fate, of every event with which he reconciled in advance.
The next stage of Jan's life is Joy Division. This is probably the most important and full of events. He is not looking for fame and popularity, he is attracted rather by interest and curiosity, a thirst for entertainment and pleasure. One such pleasure was an affair with the Belgian journalist Annick. An affair that dragged on and turned into real feelings. But everything was complicated by the fact that his wife Yan did not stop loving, he needs her support, he needs her to be there, not to leave him, no matter what... because he is seriously ill. Epileptic seizures happen to him even during performances. And he can't see the bottom of that well, because all the doctors can tell him is, "We're experimenting with drugs." And the wheel is spinning faster and faster ... touring in Europe and the United States, his wife learns about the affair with Annick, Ian loses faith in what can be a good father to Natalie, it seems to him that the audience does not appreciate him, and the way he puts out at concerts, seizures happen more often ... the string is stretched to the limit, exhausted and Jan. When Debbie leaves him, unable to admit that the husband can love the other woman, belong to both of them, does not belong to either of them, the string bursts. What happened next, everyone knows.
The film made a lasting impression. This is not a boring and boring biography, the picture looks in one breath. This is not a long black-and-white film, it is full of events, and the black-and-white format I consider a very successful directorial decision – in it the gloomy life of Jan looks really depressing. Biographical films are always not so easy to shoot, they are a priori not created for a wide range of viewers, but this one can probably be watched by everyone. Because the story is not only about the kind of person Ian Curtis was, but also about what can happen in everyone’s life, about the fatigue that sooner or later falls on everyone, and about the complexities of the choices that must be made. The chain of events is very colorful, they are of a very different plan and character, you do not have time to get tired of one, as a new turn immediately, the speed does not decrease, the tension does not decrease.
And, of course, I can't help but sing praises to Sam Riley! Really impressive acting, and even a rare resemblance ... He managed to portray a boy still looking for himself, and a young man full of hopes, and a confused and very tired man. The role was created for him.
Overall, this is a really worth seeing picture. Something she changes inside, such people leave early, but not without a trace.
And that's eternity. Pride fell with love. And purity vanished. And the cloud, hovering over me, watches every step. In the memory of what before was love.
He's not a celebrity to me, I'm still washing his pants.
I wondered why everyone was talking about Joy Division. There was no such hype before... Then I realized: Corbijn goes to the masses and carries a group to the crowd.
Thank you very much for that. Of course, Love Will Tear Us Apart in all headphones had time to get bored, but even this was not known before. Including me. The music is worthy of attention.
The movie... How to see it.
On the formal side, it's impressive. Sam Riley as Ian Curtis looks pretty convincing. He moves beautifully, embodying in his plastic the peculiar grace of Morrison and the twitchiness of the epileptic. It is especially interesting to watch a girl come to him to look for work, she has a sudden seizure, and after a while Riley perfectly conveys the robotic movements of Curtis, as if borrowed from the patient. Then Ian himself has a seizure.
I was struck by his peculiar youthful plasticity, at some points asexual, asexual, as if reflecting Bowie, posters with which adorn the walls of Ian's room. Again, Bowie refers us to the real story of the band.
From this point of view, again, no reproaches to Corbijn, who honestly reproduces the biography of the band, relying on the memoirs of Deborah Curtis, the musician's wife. She (played by Samantha Morton) also looks convincing. The image of the wife of a “celebrity”, regardless of whether he feels himself a star or not, abandoned in the end, but not stopped loving, and therefore suffering. A simple house, in the kitchen under the table hang the diapers of a newborn daughter, who is never destined to get close to her father, a bunch of bottles on the table. She forces him to try various medications, stating: "To me he's not a celebrity, I still wash his pants."
It's all a look at form. Now my personal comments on the content. For some reason, I do not question the realism of Corbijn’s portrayal. So let me judge Ian Curtis on this movie. Then he does not appear to be such a pleasant type. So self-confident in his youth, when he tells a girl he's taking away from a friend and dating recently, "You're mine, and that's irreversible," with age (um, stretchable, considering he killed himself at age 23), he becomes so weak, almost spineless. He reproaches himself that he is a bad father, but he does not have the strength to break up with his mistress, or, if so, finally break up with his wife. Ian walks around crying like everything used to be, and now he's made everyone hate that everything's wrong, everything's falling apart. To be sure, his illness is compounding, which definitely doesn’t give him strength and confidence, but he continues to drink despite Debbie’s admonitions and his own panicked fear of death. In the end, running away from his wife and daughter, then from his mistress, he becomes so confused that he sees only one way out of the situation. This proves one thing to me: this musical genius was just a weakling and a coward. I'm sad to admit it. This is conclusively proved by the fact that he did not even bother to alleviate the fate of his wife by hanging himself in his own kitchen, despite the fact that, in fact, he no longer lived at home. That is, fleeing all his life, it is unclear where and from where, he returned home, to an abandoned but loving wife, who until the end of his days endured the twists, supported him and cleaned up after him.
Anton Corbijn competently picked up the scale, but instead of a deep and piercing film about music and a strange man, he shot a two-hour meaningful, beautifully mounted black and white video about the controversial fate of the rock musician. "Control" should be really lost control, not the tragically beautiful, pop "Woman Who Sings." It looks too shallow, uneven to be worthy of the closed and challenging world of Joy Division.
And how else to call a story about music, where its individuality is almost not explained, there is the necessary visual and sound content, but there is no salt of content. Where is it, the study of the causes of success, where are the roots, the origins of the group? Curtis himself is perfectly conveyed by screen features alone, seems sincere, “authentic”, but where has his inner world frozen? Did he limit himself to silence and a few phrases when his wife tries to bring him out? Surprisingly, the film has almost no judgment. Where is the extraordinary musician here, where is his psychology, and most importantly, where is his incomprehensible search - should the drama of life be only the tragedy of a man afraid of choice? Corbijn Curtis is often just pathetic, he hides behind pain and rare smiles, as if there is no inner strength in him. I don’t really believe that this is Mayta and is his life.
This is how the review should have started, but everything has changed: this is the reason for the change.
Surprisingly, the whole plot justifies the last half an hour - difficult, nervous, ecstatic, explaining the title of the film. As far as they respond to the previous ones, as they snatch life from Curtis - for that and worth watching this movie. They are finally releasing an obscure tension, talking rather than being silent into the camera. Here he is, before his eyes, no longer a lethargic martyr, no dreary extras, but an extraordinary personality, a meaningful essence, an inexplicable force breaking against compressed, painful limits. The musician that I loved.
What is Joy Division?
Dull songs that you can only sleep and smoke? One of my favorite bands? Have you ever heard of it?
After watching this movie, your attitude towards the band will change. For many, Joy Division music is lifeless and gray melodies with clumsy and bass vocals. However, this film saturates the music, animates, shows — there were those people who played this, there were feelings, there was life. That’s the best part.
I want to pay special attention to the concerts under Joy Division. In my opinion, this is the most pleasant thing in the whole picture. Sam Riley perfectly, just brilliantly coped with his role, I look at the live performance in the film, and I see Joy Division, pouring cold sweat, despite the fact that I am not a fan, but just a connoisseur of the legendary band.
Sam Riley is like Curtis. Maybe only externally, but this is already a lot, so visually he is perceived as Curtis - and this is probably the main victory of the director, despite suspicions of antibiography.
But I don't believe the movie. He tried to get deep and biographical, but he didn’t succeed, yes, Anton Corbijn knew the guys from the band. Yes, the film is based on the book. But no, there is no faith that everything was so, that a person really was like this, lived like this, and died like this.
In my opinion, all the tragedy and severity of the fate of such a talented and complex man as Ian Curtis in the film could not convey. We could not cope, in another similar film it would just kill the picture, and this one did not get worse, he just became about something else.
A film about Joy Division is about a whole era of British rock, a post-punk icon who lived a short but beautiful life.
A film about choice, the work of being who you are.
8 out of 10
This is why events unnerve me,
They find it all, a different story.
Notice who for wheels are turning,
Turn again and turn towards this time.
Joy Division (New Order), "Ceremony"
In general, the film is not bad artistically. The story of a singer-poet struggling between the stage, the inner spiritual world, his wife and mistress, and, as a result, not coping with all this weight. All the actors are very good, the atmosphere of time and the film itself is transmitted naturally, directing at the level. I didn’t regret the time spent watching. But the film is brutally true.
It's not a good guy movie. It's a film about a man. With all his vices, his sins. About the hopes and mistakes of youth, about the collapse of illusions. What does the title of the movie mean? Perhaps the main thread is how a person tries to realize his dreams, thus seeking to gain control over his own destiny. Whether it is foolish or worthy of us to decide - to the audience.
This question is surprising in the context of cinema. Surprisingly, the main character does not really know the answer. Amazing because the wife of the main character, asking the beloved this question, actually exposes the stupidity of the situation. For the answer to it will not, with any answer, bring either a positive or a negative impetus to their relationship. I'm surprised they both know this.
I am much more surprised that despite all the painful and depressing general mood of this movie, I still want to watch it. But not on the first try... After all, life it happens so wonderful, with bouts of epilepsy, self-deception, popularity and hatred.
7 out of 10
After watching such films, people can have completely different emotions. Someone will be sympathetic, someone will admire, and I just wanted to move forward. The film really inspired me. It is saturated with a very strange atmosphere. I had never known Joy Division before and only knew one of their songs. It was interesting to see what Ian Curtis really looked like. The resemblance to actor Sam Riley is excellent. It turned out very concisely. The film energizes the spirit of those times and makes you think. Only everyone will find their meaning in it. The black and white style of the film only adds some charm to the film.
I recommend watching the movie only for people who really understand the movie. The rest will lose their time. The film will not be action, a huge unforgettable love story, and other typical plots. It's life. The life of a young man who did as he felt. On stage, he seemed to go deep into himself, completely surrendering to the song.
His estrangement and sometimes even isolation makes him very sexy. Perhaps for me he became a kind of prototype of a person with whom it is interesting to go through life.
My assessment:
Disorder Everyone who knew Curtis claims that despite being an introvert, he was responsive to people he knew. But anyway, all his creative life at the time of participation in the group was black and white. Early marriage, child, later epilepsy and pills, mistress. All these moments were some counteracting force of the life wave of the singer. He tries to fight, but this force overwhelms him more and more often, which is facilitated by drugs and problems in his personal life. Of all the possible biopic contenders, Sam Riley was chosen as a post-punk legend. Sam was a simple English boy who was fond of music and cinema. Member of an English little-known group. But when Anton saw him, he became Ian. To get used to the role, he had to literally look for facts, memories, records, letters of his on-screen protagonist. Outwardly similar to his hero, Sam tried in a manner of behavior to achieve results. In this he was helped by the widow and comrades of Ian. So when you look at these twitchy movements inherent in "dance" Ian, you're looking at Ian himself. When making a film about JD, Anton Corbijn was primarily interested in the question: What oppressed Ian? Here you can draw a certain parallel with the film Gus Van Sant “Last Days”. There, the director also tried to imagine the death of singer Kurt Cobain. Who also committed suicide. Here, perfectly recreated by Sam Riley, the image for almost two hours showed the whole range of emotions, experiences that aggravated the emotional state of the hero. Anton tried to show the influence of JD’s work through his personal memories. This film is not about music, but about a person, a person. Music is not just instruments or sounds. Music is an expressive medium, which in this film comes to life and turns into a secondary character, which is more natural, because music in a person’s life is a secondary activity. Corbijn reflected the feeling with which the singer performed. After all, for Curtis, every protrusion on the stage was filled with complete dedication. Since Corbijn is a photographer by profession, a certain staticity of the frame is visible in the frame. Perhaps this was influenced by the color of the film, which involuntarily reminds us of the origins of cinema, the era of silent cinema. Hence the effect of isolation, stiffness. Gradually, without any chaos and fuss, before my eyes unfolds the tragedy of the legendary band, the tragedy of its vocalist. 9 out of 10 Original